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Introdution...

Creative collaborative project is a group performance created by peers on a subject of your choosing. We could do this by many means: a live performance, short film etc. Creating a project with a group of peers is exciting and enables a wide range of creativity and diverse ideals to be materialised into a work of art. We chose small groups and started to create our piece after a short pitch.

We had various group meetings where we discussed our ideas in order to decide on a final concept. Communally we were intrigued about the idea of mirroring and the idea of true reflection, how movement could immerse the audience in a mirrored world and perhaps see the wishful image of the dancer through both communal and individual movement. When proposing and discussing this our first thought was through expressing the story of an individual with body dysmorphia, however we developed this to a more specific subject of reflection of the internal self. After finalising our concept and constructing a planned approach to directing we as a group found different types of inspiration to develop our ideas further. Due to the ongoing Coronavirus pandemic our piece would not be able to be a live performance, therefore, we created a short film to adapt to the current climate. This performance type also allowed us to explore different types of filming styles which would open possibilities to create a more immersive performance. We did this using eye level shots and direct eye contact with the camera. Different camera angles and following the lens allowed a more thought-provoking and intimate approach to aid he choreography. Using cameras and editing was a new vantage point for performances and a new exciting experience for all of us.

 Collectively we came up with out name for the piece, deciding on a paralleled name for the group and piece. The idea of a distorted image was intriguing and as a group we found ourselves distorting our ideas and camera angles to match the impetus, therefore we called our piece ‘Distortions’. We decided to be obvious with the name ‘Reflections’ as reflections are exact and truthful and that is what we hoped our piece would be.

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In the preliminary stages of our piece we wanted to explore the effects of reflection on the self. At first we started with the journey of a dancer and the image of ourselves in the mirror every day in leotards and how this may effect our psyche. However we wanted to diversify to a greater range of people, and through this exploration we how prevalent body dysmorphia is in so many individuals. Although this influenced the mood of the piece we found it to be to challenging to fully explore such a serious topic, therefore, we limited the piece to just reflection of self as to not flippantly capture such a serious topic in 5 minutes.

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We only decided on a piece of music on the fourth of February. This was because we wanted ‘Reflections’ to be untainted by the music as often, music can change the atmosphere of the piece and the drive. We wanted the viewers mind to be unencumbered by choreography based on something not made by us, instead we choreographed and then layered the music. Hannah Diaz first suggested Young and Beautiful and we found that it fit the tenor we had set for the piece.

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Prerika Sunuwar’s inspiration/contribution.

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In prior/preliminary stages of discussion, we wanted to develop ideas of tutting in group choreography. However, we understand that due to the Coronavirus pandemic this will have to be a collaboration from a far and a virtual project. Therefore we decided to incorporate tutting into a soloist form and instead of using sharp, harsh lines incorporating modernist physical architecture we converted to softer more fluid lines in leu of the developing idea of internal reflection rather than literal reflection. Although using this choreographic edge and precise movement we realised created a beautiful contrast and exemplified the necessity of contrasts in the self. Tutting was suggested as a style by Prerika Sunuwar, based off of the band ‘Red velvet’ and their incorporation of the tutting style in their music videos. ( I shall post later )

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After staring to develop movement and style, the idea of monochrome imagery to capture and create contrast in the shots became stimulating. This photograph, used as inspiration - suggested by Catherine Healy - taken by Edward Steichen of Greta Garbo ( taken for vanity fair in 1928), exemplifies elements used in our piece; close up shot of shoulders and head, use of hands to frame/accentuate a focal point and a colour scheme to draw a parallel with the intention (intense and brooding imagery). To me, this picture radiates beguiling femininity, which unintentionally was incorporated into our piece. This coincides with international women’s day ( 8th March ) which in the final takes influenced my interpretation of choreography. 

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I was within and without. Simultaneously enchanted and repelled by the inexhaustible variety of life.

F. Scott Fitzgerald

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This quote really resonated with me when the piece started to metamorphose and create shape. The movements and angles create a sort of paradigm shift by breaking the fourth wall and creating the illusion of being “within and without” the piece, at the vantage point of the viewer.  

We discovered this using “eye level shot” and shoulder level shots, to “break down boundaries” and create a naturalistic pathway for the viewer to watch the piece.

StudioBinder. 2021. Camera Angles Explained: The Different Types of Camera Shots in Film. [ONLINE] Available at: https://www.studiobinder.com/blog/types-of-camera-shot-angles-in-film/. [Accessed 12 February 2021].

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To conclude...

After watching the final edit, a reflection I made was that it was beautiful how much emotion and freedom of movement was produced through images on a screen. For example, the eye level shots/head and shoulder shots had such a personal and intense connection with the camera and viewer, allowing full view of the emotions on the face of the dancers. However, in the full body shots and moving camera work you experience a third persons point of view, being both within and without the film which was intriguing swapping between both 1st and 3rd persons point of view. 

Overall, the short film I see as an experimentation and exploration rather than a final product. There is still more exploration I believe, if we had the opportunity to use group choreography and face-to face mirroring. We would have done this if the Coronavirus pandemic was not present, however I believe we still captured the essence in which we were looking to capture. Therefore, I believe our short film was successful in achieving our aim and has opened a valve of experimentation and creativity in all the whole group which i hope we will take through into our professional careers, as well as new skills such as editing and directing.

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Bibliography

content.ngv.vic.gov.au. 2021. No page title. [ONLINE] Available at: https://content.ngv.vic.gov.au/col-images/api/Fe100468/xxl. [Accessed 11 March 2021].

StudioBinder. 2021. Camera Angles Explained: The Different Types of Camera Shots in Film. [ONLINE] Available at: https://www.studiobinder.com/blog/types-of-camera-shot-angles-in-film/. [Accessed 12 February 2021].

YouTube. 2021. Best tutting ever - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=OT5Hsmtn3TM. [Accessed 11 March 2021].

YouTube. 2021. Young And Beautiful - Lana Del Rey (Instrumental) - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=qrTvES6dWtU. [Accessed 11 March 2021].

YouTube. 2021. Seeing Your True Self with the True Mirror - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?app=desktop&v=2Lyc6DJ69To. [Accessed 11 March 2021].

YouTube. 2021. Red Velvet - IRENE & SEULGI Episode 1 "놀이 (Naughty)" - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=wCWoUUWwdqg. [Accessed 27 February 2021].

YouTube. 2021. 2 x 2 Mirror Dance | Marie Poppins x Sadeck | @flumemusic - YouTube. [ONLINE] Available at: https://www.youtube.com/watch?v=YiRPGncy8xk. [Accessed 26 November 2020].